Modern Dress Culture And Social Change In France

Most people who know something about French history know that "red shoes" symbolize the aristocracy of the old system. The "no pants Han" refers to the lower masses, especially the urban civilians, during the great revolution. P

The words derived from costumes are endowed with political and social meanings. This also enables us to capture the clues of social changes in the evolution of modern French fashion.

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< p > < strong > Versailles Palace: the birthplace of French dress fashion < /strong > < /p >

Less than P, since the Louis Xiv era, the French have been enjoying high prestige in fashion and fashion.

Sun King is good at raising his public image with fine clothes, thereby increasing the glory of royalty.

He once wore a jacket studded with 1500 carat diamonds, which had 123 buttons and each button was made of diamonds.

In the old system, buttons themselves are the symbol of male power, because women and children should use pins and belts to tie < a href= "http://www.91se91.com/news/index_c.asp" > clothes < /a >.

Louis Xiv loved diamonds, and he believed that glittering diamonds could show more royalty than other jewels.

Diamonds are also famous in Europe through the court of Versailles.

Louis Xiv also prefers high heels.

Some historians believe that the sun king is short in size, so he introduced high heels into the court to make up for his lack of height.

The heel is made of cork and wrapped with red leather (which is a pricey red dye). Until the revolution, it was the privilege of the French nobility to wear "a href=" http://www.91se91.com/news/index_x.asp "red shoes" /a.

It is known as "pied plat" because of its humble origin. It is also from the end of the seventeenth Century that the word "pied-plat" had the meaning of vulgar and humble person.

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< p > Louis Xiv not only indulged in the beauty of < a href= "http://www.91se91.com/news/index_c.asp > > Chinese dress > /a, but also hoped that the ladies and courtiers in Versailles could have their own fashion taste as well as themselves.

In a royal celebration in 1697, the king looked at everyone's costumes enthusiastically, and appreciated it when he saw luxurious costumes and fantastic designs.

The court of Versailles is not only the residence of the royal family, but also has gathered about three thousand or four thousand court aristocrats.

This is actually a strategy of the sun king, where the powerful nobility will be summoned into the palace to serve the king in order to contain them.

Aristocratic gathering not only has power struggles, but also dress up in costumes. They spend lots of money on decorations, trinkets and wigs.

It was in the palace of the Versailles at the time of the sun king that the fashion of France began to conquer the world, and the fashionable people from London to St Petersburg poured it down.

In this regard, Minister Karl said with delight, "fashion for France is just like Peru gold mine for Spain."

Both the Sun King and the Marquis Monte Spann were the fashion leaders.

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< p > eighteenth Century, the fashionable figure promoting the court fashion development of Versailles is undoubtedly queen Mary Antoinette of Louis sixteen.

On the average, the queen has 150 pieces of long skirts per year, which cost up to 200 thousand liv.

In the late 1770s, the queen and her female designer Rose Beltran created a new fashion in every season, so that aristocratic women scrambled for it.

At that time, 7000 men and women tailors made costumes in Paris, and the skills of crtan and the luxury consumption of the queen and ladies made Paris further establish its leading position in the international fashion industry.

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< p >! --EndFragment-- > Fashion also matches the popular hairstyle. Making hair is the top priority of a palace woman.

At the end of the Louis Xiv era and on the eve of the revolution, the bun was popular. The bun was mainly made up of wig, feather, hairpin and flowers. The exaggerated shape made women's faces almost "in the middle of their bodies".

Whether exaggerated or not, French hairstyle enjoys absolute dominance in the fashion industry.

In 17 and eighteenth Century, fashion puppets, fashion prints and fashion magazines blow Versailles's fashion to the whole of Europe and the new world.

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< p > < strong > < a > href= > http://www.91se91.com/news/index_c.asp > dress > /a > Fashion and social pformation of grades: /strong > /p >

< p > the charm of fashion lies in imitation. The bourgeoisie imitates the nobility and the provincial people imitates the citizens of Paris.

However, under the old system, the appearance created by clothing is also a sign of hierarchical identity. The government has repeatedly used the law to maintain the appearance of the aristocracy, so as to prevent confusion of class identity due to imitation costume.

From 1485 to 1660, there were 18 decrees on Prohibition of clothing and decoration, which prohibited civilians from wearing aristocratic costumes, specifying colors, and leaving the right to wear silk to the aristocracy.

During the period from 1660 to 1704, the prohibition order was reiterated many times. Karl Bei banned clothing items in the protection of national industry, such as lace in England and Holland.

Interestingly, maintaining the nobility of the noble's appearance has also stimulated the development of fashion.

This kind of act makes people strongly realize that clothing is an important tool for noble group identification, and thus impel the French skilled craftsmen to make continuous efforts in dress renovation to meet the needs of the aristocracy.

The expansion of fashion finally broke through the fence of prohibition of luxury. The prohibition of luxury in eighteenth Century has lost its effectiveness in practice, and civilians can imitate the aristocratic wearing without fear.

The two year old revolutionary government declared that no one can restrict men and women to dress in a certain way; everyone has the right to wear clothes he likes.

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< p > in addition, in eighteenth Century, with the rapid development of the textile industry, the output of textiles increased significantly and became cheaper. The consumption of clothing at all levels increased significantly.

At this time, the fabric types and styles of clothing are increased, and the colors are more beautiful.

Before that, most people were frugal in their clothing consumption. They preferred solid and durable fabrics, such as suede.

In the age of enlightenment, people prefer lightweight clothing. At this time, suede and wool fabrics are obviously reduced, cotton cloth and silk are increasing, soft satin, taffeta, Persian silk and Nanjing cotton are popular.

As the fabric becomes thin, the clothes are no longer so dull and heavy, but become more comfortable and prominent.

However, the price of frivolity is that fabrics are not so strong and wearable, so they need to buy more clothes, thus increasing the consumption of clothing.

In terms of color, dark colors are replaced by bright colors such as blue, yellow, green, and pink. You can imagine how gorgeous the streets of Paris in the Enlightenment era. The above changes have affected all strata, and even the lower class women in Paris can wear a respectable dress.

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< p > it can be said that people in Louis's sixteen period of dress are more convergent than Louis Xiv, so it is difficult to judge the social strata of people by clothing.

Aristocratic women sometimes pursue a more civilian and more natural dress, while the women of the working class also have a bit of noble spirit.

Queen Mary Antoinette used to wear the clothes of milking women workers to experience the rural life of the village women in the little ternon palace in Versailles, while the women workers in the dairy farm began to wear satin and jewellery.

Women of all classes wear stockings, and the dress of female salesmen may be mistaken for a lady in the upper class.

Even the wives of the rich peasants in the countryside can have several extravagant clothes.

Similarly, the male world is also confused by the change of costume.

Male servants sometimes wear the same gorgeous costumes as their owners, and the government wants people to roam the streets in the most fashionable public clothes.

Some elegant people even imitate the laboring people and change into trousers.

In the old system, trousers were originally mainly made by sailors, groom, street peddlers and apprenticeships. The upper class men should traditionally wear knee breeches and stockings (so-called no trousers Han, also can be plated into trousers Han, that is, workers who do not wear shorts).

It can be seen that fashion fashion not only spreads from top to bottom, but also spreads from bottom to top.

The bourgeoisie wishes to put on the aristocratic airs, and the servant desires to imitate his master.

At the same time, some fashionable people in the upper class are willing to change their costumes to get a new experience of replacing their identities.

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< p > from the development of dress culture, we can see that the image of the king is not so sacred that people can follow suit.

Louis sixteen and the courtier around him wore fashionable trappings, and the outsider was unable to discern who was the king from clothing alone.

Louis sixteen also wore clothes with black and white stripes, which led to the craziness of the fashion world. Both the coat and the vest were printed with stripes. For a time, men of all ages in Paris were covered with stripes.

In the last years of the old system, even the lilies symbolizing the power of France were arbitrarily attached to the gloves and boots of the common people.

Through the change of fashion, we can see that a once hierarchical society has become blurred and tends to disintegrate.

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After the baptism of the revolution, France achieved a more profound pformation in nineteenth Century. The bourgeoisie has become the mainstay of the society. Such a great change has naturally affected the dress culture. P

At this time, the men's clothes are no longer colourful, and they advocate black, white and grey tricolour. At the same time, lace, ruffles, jewelry and other decorations are also removed. This simple, even stereotyped dress actually embodies the bourgeois integrity, modesty, diligence, and fair rules in the rising period.

In nineteenth Century, men's wear became simple and monotonous, while women's clothing was still elegant and bright.

A wife's dress becomes a window to show her husband's power and status.

At that time, the rapid development of the textile industry and garment manufacturing industry and the emergence of department stores made the bourgeois fashion trend widely spread.

However, this will not make people's costumes completely similar. The way of wearing and exquisite details will create differences and highlight taste.

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